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El Boeing 787-9 (ET-AYD) de Ethiopian llegando a Madrid al amanecer, procedente de Marsella.
19.4.2025
The Labour Party in Ireland is a social-democratic political party. The Party was founded in 1912 in Clonmel, County Tipperary, by James Connolly, James Larkin and William X. O'Brien as the political wing of the Irish Trade Union Congress. Unlike the other main Irish political parties, Labour does not trace its origins to the original Sinn Féin. In the 2011 general election it gained 37 of the 166 seats in Dáil Éireann, almost double its total of 20 in the 2007 election, making it the second largest political party in the 31st Dáil. The Labour Party has served in government for a total of nineteen years, six times in coalition either with Fine Gael alone or with Fine Gael and other smaller parties, and once with Fianna Fáil, giving it the second-longest time in government of Irish parties, next to Fianna Fáil. As of 9 March 2011 it is the junior partner in a coalition with Fine Gael for the period of the 31st Dáil.
The current party leader is Eamon Gilmore, elected in October 2007 alongside Joan Burton as deputy leader. Gilmore is the current Tánaiste (deputy prime minister).
The Labour Party is a member of the Socialist International and the Party of European Socialists, whilst the party's MEPs sit in the European Parliament group of the Progressive Alliance of Socialists and Democrats. Through these bodies Labour is linked with the Social Democratic and Labour Party in Northern Ireland.
Wilkins the Bakers origins lay in the early 1900s.
F Wilkins started out as a franchise holder for the Isaac and Co Dairy Company's bakery division and by 1911 had taken over Fippard and Sons bakery and shop at 192 Old Christchurch Rd on the corner of Glen Fern Rd [ now Pizza Express ].
By the early 1930s Wilkins had a string of local shops and a purpose built bakery at 62 Malmesbury Park Rd on the site of a former laundry.
By 1935 the business had been purchased by a Canadian businessman named W Garfield Weston who had taken over his father's bakery business and who was now expanding into Britain.
By 1937 he had acquired 15 bakery plants across the country which had been unified as 'Allied Bakeries', mass producing bread in large, modern baking factories.
Weston later founded Associated British Foods, incorporating a whole range of brands across the world and many household names in Britain including Ryvita who's main factory is in Poole.
The Wilkins factory at Malmesbury Park Rd was extended at various times over the years and by the 1970s was producing tens of thousands of loaves a day from two large production plants situated on the top floor of the main factory. The lines ran 24 hours a day, only closing for maintenance at 6am on Saturday morning before starting up again frst thing Sunday morning.
The loaves were sent via a conveyor system to the ground floor where they were sliced, bagged and despatched. Also on the ground floor was a confectionary department that produced bread rolls, doughnuts, sausage rolls, currant buns and other goods for the network of local shops that they still ran across Bournemouth, and for other customers.
They regularly produced over 2 million hot cross buns for the Easter market and also had a specialist cake decorating department that made and decorated cakes to order.
As well as producing for their own shops Wilkins also mass produced bread under various Allied Bakeries brands such as Sunblest, Allinson, Mighty White, Hi Bran, Betabake, Slimcea, Kingsmill and Hovis as well as supplying a lot of the major supermarkets.
The company employed up to 250 people at any one time across in house departments such as baking, machine operating, hygiene, drivers, maintenance engineers, mechanics, office staff and building maintenance, with many hundreds, and probably thousands, being employed over the years.
Until the early 1980s wages were still paid in cash with the money being delivered to site by an armoured van with each individual wage packet being made up in the main office block. An announcement was made over the tanoy for employees to remain inside the factory whilst the wages were being delivered. From 1983 wages began to be paid directly into employees bank accounts.
In the late 1980s the confectionary department closed along with the shops, and in 1994 it was announced that the bakery was to close down in two phases with production being transferred to large super bakeries in the London area. Production finally ceased with a second wave of redundancies in 1995.
The site remained as a distribution centre until 2007 with bread being delivered by lorry from other bakeries with the depot moving to the Ferndown Industrial Estate where it still operates.
The Malmesbury Park Rd premises were demolished in 2007 and replaced over the following 18 months by The Granary housing development that resulted in the creation of Chelsea Gardens and Wilkins Gardens.
Image 29 of 99.
R614 stops beneath the old Lynch 3 batch loader at the end of the Cave Branch complex with a short 75 car train as a part of a 150 car order for Toledo Dock.
Name Origin: „Roronoa Zoro“ => I traded the o with u. The three sword I idea came from the One piece Character: Roronoa Zoro.
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Weapon and Abilities:
•3 hand made yellow sword. They can cut through the strongest materials.
•2 Backup Plasma swords (especially good in his sky battles
•jet pack
•lower arm blades for better aerodynamics
•upper arm projectile launcher
•giant changeable rocket boosters for fast flying
•with his horn he can sense movements
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Zuru use light amor so he can faster travel through the skies. Because of that he is very fragile.
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Lore:
Zuru family was killed by a small group of pirates. It was not the entire crew. After he became a master of sword fights and aerodynamics he joins pirates to find the pirates who killed his family. He hasn’t find the killers yet. Zuru heraed that a big pirate crew dissolved and the members are joining new crews. Maybe some killers are in captain Tandayc new crew...
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This is a entry for @onigec9000(instagram) #onisairpirates contest
Date: 1943
Object origin: United States of America
Medium: printed ephemera
Repository: Yeshiva University Museum
Call Number: 2005.212
Rights Information: No known copyright restrictions; may be subject to third party rights. For more copyright information, click here.
See more information about this image and others at CJH Digital Collections.
This material may be used for personal, research and educational purposes only. Any other use without prior authorization is prohibited. Please contact the Yeshiva University Museum at YUMinquiries@cjh.org for further information.
Wilkins the Bakers origins lay in the early 1900s.
F Wilkins started out as a franchise holder for the Isaac and Co Dairy Company's bakery division and by 1911 had taken over Fippard and Sons bakery and shop at 192 Old Christchurch Rd on the corner of Glen Fern Rd [ now Pizza Express ].
By the early 1930s Wilkins had a string of local shops and a purpose built bakery at 62 Malmesbury Park Rd on the site of a former laundry.
By 1935 the business had been purchased by a Canadian businessman named W Garfield Weston who had taken over his father's bakery business and who was now expanding into Britain.
By 1937 he had acquired 15 bakery plants across the country which had been unified as 'Allied Bakeries', mass producing bread in large, modern baking factories.
Weston later founded Associated British Foods, incorporating a whole range of brands across the world and many household names in Britain including Ryvita who's main factory is in Poole.
The Wilkins factory at Malmesbury Park Rd was extended at various times over the years and by the 1970s was producing tens of thousands of loaves a day from two large production plants situated on the top floor of the main factory. The lines ran 24 hours a day, only closing for maintenance at 6am on Saturday morning before starting up again frst thing Sunday morning.
The loaves were sent via a conveyor system to the ground floor where they were sliced, bagged and despatched. Also on the ground floor was a confectionary department that produced bread rolls, doughnuts, sausage rolls, currant buns and other goods for the network of local shops that they still ran across Bournemouth, and for other customers.
They regularly produced over 2 million hot cross buns for the Easter market and also had a specialist cake decorating department that made and decorated cakes to order.
As well as producing for their own shops Wilkins also mass produced bread under various Allied Bakeries brands such as Sunblest, Allinson, Mighty White, Hi Bran, Betabake, Slimcea, Kingsmill and Hovis as well as supplying a lot of the major supermarkets.
The company employed up to 250 people at any one time across in house departments such as baking, machine operating, hygiene, drivers, maintenance engineers, mechanics, office staff and building maintenance, with many hundreds, and probably thousands, being employed over the years.
Until the early 1980s wages were still paid in cash with the money being delivered to site by an armoured van with each individual wage packet being made up in the main office block. An announcement was made over the tanoy for employees to remain inside the factory whilst the wages were being delivered. From 1983 wages began to be paid directly into employees bank accounts.
In the late 1980s the confectionary department closed along with the shops, and in 1994 it was announced that the bakery was to close down in two phases with production being transferred to large super bakeries in the London area. Production finally ceased with a second wave of redundancies in 1995.
The site remained as a distribution centre until 2007 with bread being delivered by lorry from other bakeries with the depot moving to the Ferndown Industrial Estate where it still operates.
The Malmesbury Park Rd premises were demolished in 2007 and replaced over the following 18 months by The Granary housing development that resulted in the creation of Chelsea Gardens and Wilkins Gardens.
Image 49 of 99.
Close up shot of the inside of our clothes washer showing two of several points where the enamel is damaged and the drum is rusting. This apparently is the source of rust colored stains on towels accidentally left in the washer for a day. The real question is what, if anything, can be done to repair the enamel short of replaceing a washer that is otherwise quite functional?
This photo is illustrating this question at the Home Improvement stackoverflow site.
The Sea Rabbit (Monafluffchus americanus) of Coney Island, Brooklyn, New York – This unique sea-dwelling rabbit, which is actually a close relative of the sea lion, was officially discovered and investigated by Henry Hudson when he first visited this land to colonize the area by order of the Dutch government. It was named New Amsterdam -- today’s New York City. This island was named after he saw the beach covered with strange swimming wild rabbits. The word “Coney Island” means “wild rabbit island” in Dutch (originally Conyne Eylandt, or Konijneneiland in modern Dutch spelling). Sea rabbits were also referred mermaid rabbit, merrabbit, rabbit fish or seal rabbit in the natural history documents in the 17th century. The current conservation status, or risk of extinction, of the sea rabbit is Extinct in the Wild.
This website features two species of sea rabbits, which have been taken care of by Dr. Takeshi Yamada (山田武司) at the Coney Island Sea Rabbit Repopulation Center, which is a part of the Marine biology department of the Coney Island University in Brooklyn, New York. They are – Coney Island Sea Rabbit (Monafluffchus americanus) called “Seara” and Coney Island Tiger-striped Sea Rabbit (Monafluffchus konjinicus) called “Stripes”.
The photographs and videos featured in this website chronicle adventures of the Coney Island sea rabbits and the world as seen by them. This article also documented efforts of Dr. Takeshi Yamada for bringing back the nearly extinct sea rabbits to Coney Island in the City of New York and beyond. Dr. Yamada produced a series of public lectures, workshops, original public live interactive fine art performances and fine art exhibitions about sea rabbits at a variety of occasions and institutions in the City of New York and beyond. Dr. Yamada is an internationally active educator, book author, wildlife conservationist and high profile artist, who lives and works in Brooklyn, New York.
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Sea Rabbit
Other Common Names: Coney Island Sea Rabbit, Beach Rabbit, Seal Rabbit, mer-rabbit, merrabbit, Atlantic Sea Rabbit.
Latin Name: Monafluffchus americanus
Origin: Atlantic coast of the United States
Description of the specimen: In the early 17th century’s European fur craze drove the fleet of Dutch ships to the eastern costal area of America. Then Holland was the center of the world just like the Italy was in the previous century. New York City was once called New Amsterdam when Dutch merchants landed and established colonies. Among them, Henry Hudson is probably the most recognized individual in the history of New York City today. “This small island is inhabited by two major creatures which we do not have in our homeland. The one creature is a large arthropod made of three body segments: the frontal segment resembles a horseshoe, the middle segment resembles a spiny crab and its tail resembles a sharp sword. Although they gather beaches here in great numbers, they are not edible due to their extremely offensive odor. Another creature which is abundant here, has the head of wild rabbit. This animal of great swimming ability has frontal legs resemble the webbed feet of a duck. The bottom half of the body resembles that of a seal. This docile rabbit of the sea is easy to catch as it does not fear people. The larger male sea rabbits control harems of 20 to 25 females. The meat of the sea rabbit is very tender and tasty.” This is what Hadson wrote in his personal journal in 1609 about the horseshoe crab and the sea rabbit in today’s Coney Island area of Brooklyn, New York. Sadly, just like the Dodo bird and the Thylacine, the sea rabbit was driven to extinction by the European settlers’ greed. When Dutch merchants and traders arrived here, sea rabbits were one of the first animals they hunted down to bring their furs to homeland to satisfy the fur craze of the time. To increase the shipment volume of furs of sea rabbit and beavers from New Amsterdam, Dutch merchants also started using wampum (beads made of special clam shells) as the first official currency of this country.
At the North Eastern shores of the United States, two species of sea rabbits were commonly found. They are Coney Island Sea Rabbit (Monafluffchus americanus) and Coney Island Tiger-striped Sea Rabbit (Monafluffchus konjinicus). Sadly, due to their over harvesting in the previous centuries, their conservation status became “Extinct in the Wild” (ET) in the Red List Endangered species by the International Union for Conservation of Nature (IUCN). Currently, these sea rabbits are only found at breeding centers at selected zoos and universities such as Coney Island Aquarium and Coney Island University in Brooklyn, New York. The one shown in this photograph was named "Seara" and has been cared by Dr. Takeshi Yamada at Coney Island University.
The sea rabbit is one of the families of the Pinniped order. Pinnipeds (from Latin penna = flat and pes/pedis = foot) are sea-mammals: they are homeothermic (i.e having high and regulated inner temperature), lung-breathing (i.e dependant on atmospheric oxygen) animals having come back to semi aquatic life. As soon as they arrive ashore, females are caught by the nearest adult male. Males can maintain harems of about 20 females on average. Several hours to several days after arriving ashore, pregnant females give birth to eight to ten pups with a dark brown fur. As soon as birth occurs, the mother’s special smell and calls help her pups bond specifically to her. The mother stays ashore with her pup for about one week during which the pup gains weight. During the first week spent with her newborn, the mother becomes receptive. She will be impregnated by the bull, which control the harem. Implantation of the embryo will occur 3 months later, in March-April. During the reproductive period, the best males copulate with several tens females. To do so, males have to stay ashore without feeding in order to keep their territory and their harem. In mid-January, when the last females have been fecundated, males leave at sea to feed. Some of them will come back later in March-April for the moult. The other ones will stay at sea and will come back on Coney Island only in next November. After fecundation, the mother goes at sea for her first meal. At sea, mothers feed on clams, crabs, shrimps, fish (herring, anchovy, Pollock, capelin etc.) and squids. When she is back, the mother recovers her pups at the beach she left them. Suckling occurs after auditive and olfactory recognition had occured. In March-April, the dark brown fur is totally replaced by an adult-like light brownish grey fur during the moult that lasts 1-2 months. This new fur is composed by 2 layers. Externally, the guard fur is composed by flat hairs that recover themselves when wet. By doing so, they make a water-proof barrier for the under fur. The underfur retains air when the seal is dry. Because of isolating properties of the air, the underfur is the insulating system of the fur. In March-April, the fur of adults is partially replaced. First reproduction occurs at 1-yr old in females. Males are physiologically matures at 1 year old but socially matures at +2 years old.
NOTE: The name of Coney Island is commonly thought to be derived from the Dutch Konijn Eylandt or Rabbit Island as apparently the 17th century European settlers noted many rabbits running amuck on the island.
www.takeshiyamada.weebly.com/performances.html
www.takeshiyamada.weebly.com/sea-rabbit-center.html
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www.flickr.com/photos/searabbits23/
www.flickr.com/photos/searabbit22
www.flickr.com/photos/searabbit021/
www.flickr.com/photos/searabbit20
www.flickr.com/photos/searabbit19
www.flickr.com/photos/searabbit18
www.flickr.com/photos/searabbit17
www.flickr.com/photos/searabbit16
www.flickr.com/photos/searabbit15
www.flickr.com/photos/searabbit14
www.flickr.com/photos/searabbit13
www.flickr.com/photos/searabbit12
www.flickr.com/photos/searabbit11
www.flickr.com/photos/searabbit10
www.flickr.com/photos/searabbit9
www.flickr.com/photos/searabbit8
www.flickr.com/photos/searabbit7
www.flickr.com/photos/searabbit6
www.flickr.com/photos/searabbit5
www.flickr.com/photos/searabbit4
www.flickr.com/photos/searabbit3
www.flickr.com/photos/searabbit2
www.flickr.com/photos/searabbit1
www.flickr.com/photos/diningwithsearabbits03
www.flickr.com/photos/diningwithsearabbits02
www.flickr.com/photos/diningwithsearabbits01
www.flickr.com/photos/yamadaimmortalized2/
www.flickr.com/photos/takeshiyamadaimmortalized/
www.flickr.com/photos/yamadabellhouse2014/
www.flickr.com/photos/museumofworldwonders3/
www.flickr.com/photos/museumofworldwonders2
www.flickr.com/photos/museumofworldwonders/
www.flickr.com/photos/takeshiyamadapaintings/
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For any questions, please email contact Takeshi Yamada, Art & Rogue Taxidermy, Museum of World Wonders, official website. www.takeshiyamada.weebly.com/
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For any questions, please contact Dr. Takeshi Yamada. His email address is posted in the chapter page (the last page or the first page).
(Updated April 7, 2015)
Aigüestortes i Estany de Sant Maurici National Park (Catalan: Parc Nacional d'Aigüestortes i Estany de Sant Maurici, Spanish: Parque Nacional de Aiguestortes y el Lago San Mauricio) is one of the fourteen Spanish National Parks, the second in the Pyrenees and the only one in Catalonia.
A wild mountain region in the Pyrenees, with peaks rising to 3,017 m (Besiberri Sud) and with nearly 200 lakes, many of them of glacial origin, the park comprises the core area (141 km²) and a peripheral or buffer zone surrounding the park (267 km²).
The park has an elevation range from 1,600 to 3,000 metres and contains four major vegetation zones: lower montane, upper montane, subalpine and alpine. It has a great variety of alpine vegetation, including dark-coniferous mountain forest (fir, mountain pine) and subalpine pine forest.
The fauna includes Pyrenean chamois, marmot, ermine, roe deer, among other mammals and numerous birds (Black Woodpecker, Common Crossbill, Lammergeier, Golden Eagle).
The park was created in 1955 after Ordesa y Monte Perdido National Park, first spanish National Park in the Pyrenees in 1918. Its administrative seats are in Espot and Boí. The park is mainly located in the comarques of Pallars Sobirà and Alta Ribagorça.
(Wikipedia)
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Pyrenees in early spring are a completely magic place: empty, silent, with spring blossoms in its lower parts and still with amounts of snow covering the peaks and upper areas.
We did a nice hike from the village of Boí to the Lake Llong and back; whereas spring was already at its best in the valleys, the upper part of the path was still covered by snow, causing an unusual but lovely hiking combination.
Here the view is taken at the very beginning of our hike, in the village of Boí.
1. Identification
1.0 Nom d’origine : Pavillon de la Jamaïque
1.1 Nom usuel : Pavillon de la Jamaïque
1.2 Adresse : Secteur île Notre-Dame
No. du Lot : 4100
Plan-repère : No. 418
1.3 Ville : Montréal
1.4 Type de bâtiment : Pavillon d’exposition
1.5 Particularité du bâtiment : Temporaire
1.6 Superficie et dimensions :
Dimensions : 76’ de longueur x 36’ de largeur (plus les huttes)
Hauteur : 26’
Superficie : 4452 pi. ca
1.7 Protection/statut : Secteur significatif à critères
1.8 Propriétaire initial (maître d'ouvrage) :
Gouvernement de la Jamaïque, représenté par le haut-commissaire
général, Ottawa
1.9 Propriétaire actuel : Ville de Montréal
____________________________________________________
2. Données historiques
2.1 Description de la commande :
Pavillon temporaire conçu sous le thème de l’auberge jamaïcaine,
où les visiteurs peuvent se détendre au son de musique jamaïcaine,
boire du rhum et manger des plats typiques du pays.
2.2 Dates importantes :
Projet initié : 1966
Début de la construction : 1966
Fin des travaux : 1967
2.3 Concepteurs :
George F. Eber, architecte (Montréal)
M. A. Mathieu (architecte pour l’Expo)
2.4 Autres spécialistes :
Ingénieurs conseils :
Ingénieur structure : Blauer, Horvath & Associates (Montréal)
Ingénieur mécanique et électrique: James P. Keith Associates
Limited (Montréal)
Entrepreneur général : Bryan Elliott Limited (Montréal- New York)
2.5 Modifications significatives :
Après 1967 :
- démolition des huttes ;
- réaménagement en un relais pour ceux qui s’adonnent à des
sports d’hiver sur l’île;
- réfection du toit en bardeaux d’asphalte.
1976 :
Sert d’entrepôt lors des Jeux Olympiques de Montréal.
1979- 1980 :
Aménagement d’un café terrasse lors des Floralies
1993-1997 :
Restaurant Fleur de l’île (concession).
2000 :
Restauration des canaux.
2002- 2003 :
Lieu de tournage de l’émission L’île de Gildor.
c. 2005 :
Sert de salle de cours pour les élèves d’horticulture de l’École des
métiers de l’horticulture de Montréal.
2006 :
Aménagement paysager refait
2.6 Usage actuel :
Désaffecté
2.7 État physique actuel :
Seul le bâtiment principal et son annexe subsistent. Les huttes
ont été démolies et les abords du pavillon ont été réaménagés.
3. Description
3.1 Description synthèse :
Le pavillon de la Jamaïque est du nombre des pavillons nationaux qui témoignent à l’Expo des traditions architecturales de leur
pays. Sa conception emprunte à la fois à l’auberge jamaïcaine et à la grande maison de plantations par son corps de bâtiment de
deux étages en maçonnerie couverte d’enduit, son grand toit à croupes à faibles pentes brisées, ainsi que sa cour cintrée par un
muret de blocs en ciment. Le pavillon se complète par une annexe rectangulaire d’un étage, aussi construite en blocs, à toit plat,
logeant les espaces de services.
À l’époque de l’Expo, des huttes de bois rappelant le logis des esclaves parachevaient l’aménagement du site et permettaient aux
visiteurs de bénéficier d’espaces aménagés à l’intérieur comme à l’extérieur, tel qu’ils auraient pu le faire s’ils fréquentaient une
véritable auberge de la Jamaïque. La localisation du pavillon, à la jonction de deux canaux sur un terrain en pente, a par ailleurs
permis l’aménagement de terrasses sur différents paliers autour du bâtiment.
L’intérieur du bâtiment consiste en une surface à aire ouverte où se dressent le bar, à l’entrée, puis les tables pour les convives. Il ne
se trouve pas d’étage, plutôt un petit balcon qui évoque la mezzanine qui, comme à l’extérieur, est projeté le long des murs.
3.2 Construction :
L’édifice a été réalisé en tant que pavillon temporaire. La charpente du toit est en bois et les murs en blocs de ciment recouverts de
deux types d’enduits : lisse pour le corps du bâtiment et à faux joints pour le soubassement et l’annexe. Le rez-de-chaussée est
abondamment fenestré tandis qu’à l’étage, des persiennes de bois posées par-dessus le mur de blocs créent l’illusion de portesfenêtres.
Les bardeaux de bois du toit ont été remplacés par des bardeaux d’asphalte à une date inconnue. Autour du bâtiment, le
sol de la cour est recouvert de dalles de béton de 3 pieds par 6 pieds.
3.3 Contexte :
Le pavillon de la Jamaïque dont l’une des fonctions est d’inviter les visiteurs à se détendre et se sustenter, est localisé au centre de
l’île Notre-Dame, donc au centre des axes formés par l’implantation des pavillons principaux, à chacune des extrémités de l’île. Le
bâti domine le paysage et lui confère une allure urbaine.
Le pavillon est situé sur un lot rectangulaire au croisement de deux canaux, au centre de l’île Notre-Dame, sur un terrain légèrement
en pente de sorte que son soubassement est découvert à l’arrière. Au sud, un chemin part de la terrasse et rejoint en droite ligne la
place des ingénieurs. Un second chemin longe la terrasse vers l’ouest, où un pont enjambe le canal vers la place de l’Amiante. Audelà
du lot, nous retrouvons sinon, au nord, de l’autre côté du canal, le Pavillon des Indiens du Canada et celui des Nations Unies, à
l’est, le Pavillon de l’île Maurice et au sud, le Pavillon de Monaco et celui d’Haiti. À l’ouest se dressent les pavillons des provinces
canadiennes.
4. Évaluation
A. Valeur documentaire / histoire de Montréal, du Québec, et internationale :
Le Pavillon de la Jamaïque est l’un des rares pavillons temporaires de l’Expo 67 qui subsistent encore aujourd’hui. Il témoigne non
seulement de l’événement d’envergure qu’a été l’Expo, qui a notamment permis au Québec de s’ouvrir sur le monde, mais aussi de
l’indépendance nouvelle de la Jamaïque. Devenue un pays en 1962, c’est à Montréal que la Jamaïque participe pour la première fois
à un événement international en tant que nation.
L’intérêt du pavillon est aussi lié aux liens d’amitié qui unissent le Canada et la Jamaïque. Malgré la forte immigration jamaïcaine au
Québec, le pavillon de l’Expo demeure l’une des rares manifestations connues d’architecture d’inspiration jamaïcaine en sol
québécois. Fenêtre sur la culture Jamaïcaine, le pavillon a de plus permis aux Canadiens de connaître la richesse de l’histoire de la
Jamaïque et l’hospitalité de son peuple. Dès son ouverture, ce petit pavillon a joui d’une très grande popularité.
B. Valeur documentaire / histoire de l’architecture :
L’architecture du pavillon de la Jamaïque est plutôt traditionnelle. Si dans toutes les Expositions universelles, certains pavillons se
sont démarqués pour leur aspect novateur, ils s’en est toujours trouvés d’autres qui, à l’instar du pavillon de la Jamaïque, ont
véhiculé leur identité nationale par des manifestations régionalistes. Le caractère jamaïcain n’en tenait pas qu’au bâtiment mais à
l’expérience qu’il proposait au visiteur. En ce sens, le pavillon fut un succès puisqu’il a joui d’une très grande popularité tout au long
de l’Expo. La qualité des espaces intérieurs et extérieurs, tout comme celle de son environnement, a permis la récupération du
pavillon lors de la tenue de différents événements depuis sa construction, notamment lors d’autres expositions, Terre des Hommes
et les Floralies, ou pour la réalisation d’une émission de télévision, L’île de Gilidor à Radio-Canada.
Le pavillon a été construit selon les plans d’un architecte canadien installé à Montréal, George F. Eber (1933-1995). Eber fut
l’architecte le plus prolifique de l’Expo 67. Il a ensuite connu une carrière internationale.
C. Intégrité
Objet : Vu de l’extérieur, le bâtiment principal a relativement bien conservé ses qualités d’origine ainsi que sa relation avec le site.
Les lanternes, les garde-corps, les persiennes demeurent originaux. Les bardeaux de bois de la toiture ont été remplacés par des
bardeaux d’asphalte. Néanmoins l’aménagement paysager a été modifié. Les huttes ont été démolies et la cour réaménagée
récemment dans un autre esprit.
Contexte : À partir du site du pavillon de la Jamaïque, il demeure possible d’observer les pavillons de la France et du Québec, le
Centre des arts du pavillon du Canada, ainsi que des témoins restant des places de l’Amiante et des ingénieurs. Cependant,
l’environnement du pavillon a été profondément modifié depuis 1967. Notons la disparition de plusieurs pavillons de l’Expo 67 et la
modification de l’aménagement initial du site, notamment depuis les floralies internationales de 1980.
D. Authenticité
Objet : Le bâtiment principal a relativement bien conservé sa physionomie d’origine. Cependant, il est pour l’instant désaffecté.
Les terrasses sont vides, il n’est plus possible d’y ressentir l’expérience jamaïcaine proposée à l’Expo. En ce sens, il a perdu une
grande part de son authenticité.
Contexte : La présence continue des canaux, des sentiers qui longent le pavillon, ainsi que l’aménagement paysager, confèrent
à l’environnement du pavillon de la Jamaïque une certaine qualité bucolique. Cette atmosphère calme ne s’apparente cependant pas
à l’esprit du lieu à l’origine, tandis que le pavillon se trouvait au centre des pavillons de l’île Notre-Dame et accueillait les visiteurs
telle une auberge jamaïcaine.
Mattel Origins
My Horde collection.
I have Mosquitor. Ninjor too. Even though he serves Skeletor.
But originally Hordak, I think....
Grislor must have been a Mattel Creations only release.
Because he is around fifty dollars now. Which is too much for me. Not even a deluxe figure with a variant head or anything else. Not even the dark Grislor.
But I will get the normal priced Origins :)
You can download or view Macroscopic Solutions’ images in more detail by selecting any image and clicking the downward facing arrow in the lower-right corner of the image display screen.
Three individuals of Macroscopic Solutions, LLC captured the images in this database collaboratively.
Contact information:
Mark Smith M.S. Geoscientist
mark@macroscopicsolutions.com
Daniel Saftner B.S. Geoscientist and Returned Peace Corps Volunteer
daniel@macroscopicsolutions.com
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annette@macroscopicsolutions.com
Galaxy M96 200%
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Luminance : "Shai-hulud Tooth" SW N254/1200
QHY174MM - 2234x3s + 1726x4s - bin1 - 1"/pixel"
Color layer by "N. BERGER" - 20190103
N253/682 - ICX814 - 24mn R/V/B
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200% : www.flickr.com/photos/187071820@N02/50560873501/sizes/o/
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Full : www.flickr.com/photos/187071820@N02/50560113773/sizes/o/
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Origin color : www.flickr.com/photos/145898341@N07/45789752865/
Montepulciano è un comune di 14.522 abitanti della provincia di Siena, posto a 605 metri sul livello del mare, a cavallo tra la Valdichiana e la Val d'Orcia.
Di antica e lunga storia, Montepulciano ha origini dal popolo degli Etruschi a partire dal IV secolo a.C.
Ha notorietà anche per la ricchezza di ottimi vigneti da dove si ricava il vino Nobile di Montepulciano DOCG.
Montepulciano è un composto di Monte e Policiano, Polciano o Pulciano, dall'etrusco purth che significa condottiero, dittatore, magistrato. Da questo termine deriva anche il nome Porsenna. Da purth a purz, poi secondo il Pauli, purzna, pulitina e pulitiana. Dal nome latino di persona Publicius con l'aggiunta del suffisso -anus che indica appartenenza non puà derivare politiana, perché da publicius non viene pullicianus, pubblicianus.
Montepulciano deriva da Purth (si pronuncia Purz) dal termine etrusco che significa: comandante, dittatore, generale, condottiero. Da questo termine deriva anche il nome Porsenna, che non era il vero nome del famoso lucumone di Chiusi, ma lo divenne per antonomasia. Da Purth dunque purthna (il luogo di Porsenna), e da purthna pulthna, pulitina, pulitiana.
Il centro abitato ha caratteristiche di borgo medievale a forma di S ed è racchiuso entro tre cerchia di mura, costruite tutte verso il XIV secolo.
Di origine etrusca e fondata, secondo la leggenda da Porsenna, Lucumone di Chiusi; alcuni documenti e reperti rinvenuti in Fortezza, ne fanno risalire l'esistenza già al IV-III secolo a.C. In epoca romana fu sede di un esercito posto a difesa delle strade consolari. Fu evangelizzata da San Donato, vescovo di Arezzo nel IV secolo.
Nel luogo dell'attuale Chiesa della Madonna di San Biagio, esisteva la Sancta Mater Ecclesia in Castello Pulliciano, così in un documento del 715 in epoca longobarda conobbe il suo primo sviluppo; infatti in alcuni atti notarili dell'Archivio dell'Abbazia del SS. Salvatore sull'Amiata, si trovano documenti tra i quali uno dell'806 ed i testimoni, tutti di Montepulciano, erano preti, chierici, un medico e un orafo, segno di un elevato livello civile e culturale.
Nel XII secolo, la Repubblica di Siena volendo sottomettere Montepulciano, libera e ricca, dette inizio ad una serie di guerre, che i Poliziani affrontarono con l'aiuto di Perugia e di Orvieto, ma più assiduamente e con esiti alterni, con l'appoggio di Firenze.
All'inizio del XIII secolo la vitalità della città, promossa dall'intrapendenza della borghesia mercantile, manifatturiera e agricola, prese ad attirare le mire di Firenze e Siena.
Il Trecento fu segnato da forti contese per il potere tra le famiglie maggiori; una relativa stabilità si ebbe sotto la Famiglia Del Pecora che, divisi al loro interno nell'appoggiare Firenze, Siena o Perugia, divennero Signori di Valiano e tiranni di Montepulciano.
Nel 1390 Montepulciano si alleò stabilmente con Firenze, cui premeva disporre di un caposaldo strategico a sud di Siena.
Dagli inizi del Quattrocento a metà del Cinquecento, Montepulciano ebbe il proprio periodo aureo, scandito da stabilità politica, prestigio culturale, fioritura artistica.
Il XV secolo fu l'epoca dell'umanista Bartolomeo Aragazzi, segretario apostolico di Papa Martino V e del grandissimo poeta Angelo Poliziano. Un'eccezionale fervore edilizio contrassegnò il XVI secolo: architetti quali Antonio da Sangallo il Vecchio, Jacopo Barozzi detto Vignola, Baldassarre Peruzzi, Ippolito Scalza eressero sontuose dimore patrizie, splendide chiese e diversi punti del centro urbano furono abbelliti.
In questo periodo visse il cardinale Marcello Cervini, che sedette sul soglio pontificio per soli 28 giorni con il nome di Marcello II.
Nel 1511, i Poliziani, conclusa la definitiva pace con i Fiorentini, incisero sulla porta e sull'architrave della sala del consiglio la seguente iscrizione: Recuperatio Libertatis, A.D. 1511.
Dal 1559, con la sottomissione di Siena al principato mediceo, Montepulciano perse parte della rilevanza strategica e politica passata, ma mantenne il prestigio. Si stabilirono a Montepulciano storiche famiglie poliziane dei Nobili, Tarugi, Contucci, Bellarmino, Ricci, Cervini, Benci, Cini, Cocconi e numerose altre, che dettero grandi uomini alla Chiesa, alle lettere, alle arti e alle armi: un sommo pontefice, numerosi Cardinali, molte decine di Vescovi, Prelati insigni in grande numero, ed una grande quantità di uomini che furono eccellenti in molte discipline. Uno dei suoi figli più affezionati, il cardinale Giovanni Ricci, nel 1561, ottenne da Papa Pio IV, con il consenso del Granduca, che Montepulciano fosse decorata della sede episcopale e del titolo della città. Montepulciano ottenne così l'elevazione a sede episcopale e si eseguì la successiva demolizione dell'antica pieve per costruire l'imponente cattedrale (1594) su progetto di Ippolito Scalza e secondo i principi della Controriforma, della quale uno dei padri emeriti fu il poliziano cardinale Roberto Bellarmino.
Alla morte del cardinale Giovanni Ricci, il Granduca Ferdinando lasciò i Capitanati di Montepulciano e Pietrasanta al libero governo della Granduchessa Cristina di Lorena che vi rimasero fino alla sua morte, avvenuta nel 1636. La Granduchessa dette molto impulso alla costruzione della nuova Cattedrale, dove il Vescovo Antonio Cervini, nel 1680 celebrò per primo il Pontificale e fu consacrata nel 1712 dal Vescovo Francesco Maria Arrighi, che nel 1714 consacrò la Chiesa del Gesù.
Nel 1700 il vescovo Cervini consacrò anche la Chiesa di Sant'Agnese e nel 1714 il vescovo Angelo Maria Vantini consacrò la Chiesa di Santa Maria delle Grazie.
Nel XVIII secolo fiorì l'Accademia degli Intrigati, che, insieme all'attività letteraria, edificò nel 1793 un teatro, negli stanzoni del quattrocentesco Monte di Pietà, come aveva già fatto in precedenza in Via Collazzi ed in Palazzo Comunale.
La lunga stagione lorense segnò per Montepulciano l'inizio di una diffusa ripresa economica e sociale. La bonifica della Valdichiana favorì la ricolonizzazione agricola del fertile fondovalle; la conseguente riorganizzazione del sistema viario facilitò i contatti commerciali. Con l'Unità d'Italia, Montepulciano s'impose come principale mercato agricolo dell'area, mentre le attività imprenditoriali slittarono verso il fondovalle, attratte dalla ferrovia (presente fin dal 1884) e dalla maggior facilità di collegamento con l'emergente nodo ferroviario di Chiusi.
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Montepulciano é uma comuna italiana da região da Toscana, província de Siena, com cerca de 13.870 habitantes. Estende-se por uma área de 165 km2, tendo uma densidade populacional de 84 hab/km2. Faz fronteira com Castiglione del Lago (PG), Chianciano Terme, Chiusi, Cortona (AR), Pienza, Torrita di Siena. Foi nessa região que foram gravadas algumas cenas de Lua Nova,que são exibidas no final do longa,quando Bella viaja para Itália junto com Alice para salvar Edward.
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Montepulciano, a medieval and Renaissance hill town and comune in the province of Siena in southern Tuscany, (Italy). Montepulciano, with an elevation of 605 m, sits on a high limestone ridge. By car it is 13 km E of Pienza; 70 km SE of Siena, 124 km SE of Florence, and 186 km north of Rome.
Montepulciano is a major producer of food and drink. Montepulciano is known world-wide for its fabulous wine. Wine connoisseurs consider its Vino Nobile among Italy's best. However, the Vino Nobile di Montepulciano should not be confused with the varietal wine (Montepulciano grape) of the same name. Montepulciano is also known for its pork, cheese, "pici" pasta (a thick, rough, chewy variant on spaghetti), lentils, and honey.
The name of Montepulciano derives from Latin Mons and Publicianus ("Mount of Publicianus"). According to legend, it was founded by the Etruscan King Porsenna of Chiusi; recent findings prove that a settlement was already in existence in the 4th-3rd centuries BC. In Roman times it was the seat of a garrison guarding the main roads of the area.
After the fall of the Western Roman Empire, it developed as a religious center under the Lombards. In the 12th century it was repeatedly attacked by the Republic of Siena, which the Poliziani faced with the help of the Perugia and Orvieto, and sometimes Florence, communes. The 14th century was characterized by constant struggles between the local noble families, until the Del Pecora family became rulers of the town. From 1390, Montepulciano was a loyal ally (and later possession) of Florence and, until the mid-16th century, lived a period of splendour with architects such as Antonio da Sangallo the Elder, Jacopo Barozzi da Vignola, Baldassarre Peruzzi, Ippolito Scalza and others, building luxurious residences and other edifices here. In 1559, when Siena was conquered by Florence and Montepulciano lost its strategic role, its importance declined.
After the unification of Italy and the drying of the Val di Chiana, the town remained the most important agricultural centre in the area, while the industrial activities moved mostly next to Chiusi, which was nearer to the railroad being built in that period.
Linda Proud's The Botticelli Trilogy centres on the life of Angelo Poliziano. The second volume in particular, Pallas and the Centaur (2004), deals with his boyhood in Montepulciano, and the life of his sister Maria. The novel contains vivid detail of the city and surrounding country and an authoritative account of the murder of Poliziano's father derived from local knowledge.
Eléments protégés :
Ferme à toit de chaume, y compris les dépendances (cad. AD 8) : classement par arrêté du 13 décembre 1977
Historique :
Construite au 17e ou 18e siècle, la ferme est la seule de la localité qui ait conservé ce mode de couverture, très fréquent autrefois dans la région, et typique des fermes du Mézenc. Elle se compose d'un long corps de bâtiment à deux niveaux, flanqué en ses extrémités de deux appentis. L'habitation vient s'y greffer en retour d'équerre. L'ensemble est complété par deux constructions annexes : le bûcher et la remise. L'ensemble est couvert de chaume, à l'exception de l'habitation, d'un appentis à l'est, et de la porcherie. L'ensemble est clos d'un muret en pierre sèche. A l'intérieur, les dispositions d'origine et une partie du mobilier ont été conservées. Cette ferme peut être considérée comme le meilleur exemple encore intact de cette architecture rurale.
#NP : ♫♪ ❝ That's the price you pay
Leave behind your heartache, cast away
Just another product of today
Rather be the hunter than the prey❞ 🌺🌿💛✨ #ImagineDragons #Natural #Origins
@imaginedragons 😘
#Throwback #MeMyselfAndI #Gay #MeGay #GayMe #GayBoy #GayGuy #GayMan #GayCub #HairyChest #GuyGay #GayBear #BearGay #HairyChest #BeardedGay #HairyBoy #HairyMan #HairyGuy #GayScruff #FrenchGay #GayFrance #InstaGay #GayStagram #GaySnap #BoyGay #ManGay
Pushkar (Hindi: पुष्कर) is a town in the Ajmer district in the Indian state of Rajasthan. It is situated 14 km northwest of Ajmer at an average elevation of 510 m and is one of the five sacred dhams (pilgrimage site) for devout Hindus. According to Hindu theology, the pond at the Katas Raj temple Near Choa Saidan Shah in Chakwal District of Pakistan has a theological association with Shiva; it was formed by the tears of Lord Shiva which he is believed to have shed after the death of his wife, Sati. The story goes that when Sati died, Shiva cried so much and for so long, that his tears created two holy ponds – one at Pushkara in Ajmer in India and the other at Ketaksha, which literally means raining eyes, in Sanskrit. It is from this name that the word Katas is derived. It is often called "Tirth Raj" – the king of pilgrimage sites – and has in recent years become a popular destination for foreign tourists.
Pushkar is one of the oldest existing cities of India. It lies on the shore of Pushkar Lake. The date of its actual origin is not known, but legend associates Brahma with its creation.
Pushkar has many temples. Most of the temples are not very old because MANY TEMPLES WERE DESTROYED DURING MUSLIM CONQUESTS in the area. Subsequently, the destroyed temples were rebuilt. The most famous among all is the Brahma Temple built during the 14th century CE. Very few temples to Lord Brahma exist anywhere in the world. Other temples of Brahma include Bithoor in Uttar Pradesh, India; Khedbrahma in Gujarat, India; village Asotra near Balotra city of Barmer district in Rajasthan; Uttamar Kovil (one of the Divya Desams) near Srirangam, Tamil Nadu; Mother Temple of Besakih in Bali, Indonesia; and Prambanan in Yogyakarta, Indonesia. The Pushkar lake has 52 ghats where pilgrims descend to the lake to bathe in the sacred waters.
Pushkar is also famous for its annual fair (Pushkar Camel Fair) held in November.
ETYMOLOGY
Pushkar in Sanskrit means blue lotus flower. Hindus believe that the gods released a swan with a lotus in its beak and let it fall on earth where Brahma would perform a grand yagna. The place where the lotus fell was called Pushkar. Pushkar word may be derived from word 'Pushkarni'means- lake. It may be derived from word Pushpa means flower and Kar means hand.
HISTORY
Pushkar is one of the oldest cities of India. The date of its actual founding is not known, but legend associates Brahma with its creation.
According to legend, Brahma was in search of a place for Mahayagna and he found this place suitable. After a long time, Brahma came to known that a demon, Vajranash, was killing people here so the Lord intoned a mantra on a lotus flower and killed the demon. During this process the parts of flower fell on three places which were later known as Jyaistha, Madhya and Kanistha Pushkar. After this Brahma performed a yagna to protect this place from demons. The consort of Brahma, Saraswati, were needed to offer Ahuti for the yagna but she was not there that time so Gayatri, a Gurjar girl, was married to brahma and performned yagna. This act made first wife of Brahma, Saraswati, angry and she cursed Brahma saying that he would be worshiped in Pushkar only.
The Mahabharata says that while laying down a programme for Maharaja Yudhishthara’s travel, “Maharaja after entering the Jungles of Sind and crossing the small rivers on the way should bathe in Pushkara". And, as per Vaman Purana, Prahlada on his pilgrimage to holy places visited Pushkarayana.
A Gurjara Pratihara ruler of Mandore, Nahadarava, restored this tirtha in the seventh century. He got the place cleared and the lake restored by making an embankment on the side of the river Luni. He rebuilt old palaces and built twelve dharmashalas (resting places) and ghats on three sides of the lake.
According to Rajputana Gazetteer Pushkar was held by Chechi Gurjars until about 700 years ago.Later Some shrines were occupied by Kanphati Jogis.
There are still priests from the Gurjar community in Pushkar temple, known as Bhopas.
The sage Parasara is said to have been born here. His descendants, called Parasara Brahamanas, are found in Pushkar and the surrounding area. The famous temple of Jeenmata has been cared for by Parasara Brahmans for the last 1,000 years.
It is also the venue of the annual Pushkar Camel Fair. In 1901, the town was part of the Rajputana Agency had a population of 3,831.
PUSHKAR FAIR
Pushkar fair continues for five days and these five days are a period of relaxation and merry-making for the villagers. This fair time is the most busy time for them, as this is one of the largest cattle fairs in the country. Animals, including over 50,000 camels, are brought from miles around to be traded and sold. Trading is brisk as several thousand heads of cattle exchange hands. All the camels are cleaned, washed, adorned, some are interestingly shorn to form patterns, and special stalls are set up selling finery and jewellery for the camels. Camels at the Pushkar fair are decorated with great care. They wear jewellery of silver and beads. There are silver bells and bangles around their ankles that jangle when they walk. An interesting ritual is the piercing of a camel's nose. It has more than 400 temples including the only one temple in India dedicated to the Hindu God Lord Brahma, the Creator of the Universe.
According to Indian mythology, after visiting all the Hindu pilgrim towns and temples (Four Dhams), if Pushkar is not visited for worship, then salvation is not achieved. According to the Hindu calendar Pushkar Fair commences in Nawami (ninth day of fortnightly phases of moon) and ends in Purnima (Full Moon) in the month of Kartika (October or November according to the lunar calendar). In Pushkar, one of the biggest Cattle Fair is also held for trading purposes and the best cattle in all categories are awarded. Countless people in their colourful attire gather to take a dip in the Holy Lake and pray to the deities. The whole town comes alive with vibrant folk music and dances, magic shows, horse and camel races and various other traditional entertainment competitions.Pushkar, with more than 12 local fairs and festivals of 10–15 days duration is a year round destination. It is a mellow town by the great lake of Pushkar amidst the perfume of jasmine and rose flowers. About 4,000 to 6,000 visitors from all over the world come to Pushkar everyday.
PUSHKAR LAKE
The prime attraction of Pushkar is the Pushkar Lake which is considered sacred like the Mansarovar Lake in Tibet. Pushkar has become a place of Hindu pilgrimage because of this holy lake. Legend has it that this lake was consecrated to Lord Brahma, the creator of the universe when a lotus dropped from his hand into the vale and a lake emerged in that place.
BRAHMA TEMPLE
The most important temple in Pushkar is the Temple of Lord Brahma, one of the holy trinity of Hinduism. The temple enshrines a life-size idol of Lord Brahma.
SAVITRI TEMPLE
This temple that is located at the top of the Ratnagiri Hill is dedicated to Savitri, the wife of Lord Brahma. The temple houses a statue of Goddess Savitri.
WIKIPEDIA
Retablo de los Reyes
Retablo de los Reyes o Altar de los Reyes, es un retablo de gran valor artístico y estético, que se ubica en la Catedral Metropolitana de la Ciudad de México. Indistintamente se le identifica como altar o retablo debido a que, como el resto de los demás existentes en el majestuoso templo, estaba destinado a servir para el culto oficiándose misas en él.
Su autor fue Jerónimo de Balbás y su construcción transcurrió de 1718 a 1725. Se ubica en el ábside, al fondo de la catedral, espacio denominado como Capilla de los Reyes, aunque no posee reja alguna que delimite y cierre dicho espacio a la manera de una capilla como todo el resto.
Tal es la calidad, riqueza y grandeza de esta obra, que se considera una de las más bellas obras de arte creadas bajo el estilo barroco churrigueresco en todo el continente Americano
Se puede considerar un monumento dentro de otro monumento que es la misma Catedral Metropolitana, debido a que es la obra cumbre del estilo artístico en el que fue concebido, el barroco churrigueresco o barroco estípite, también denominado "barroco mexicano", estilo arquitectónico originado y desarrollado plenamente en la Nueva España, donde alcanzó su máximo auge en su empleo en la decoración y ornamentación de edificios civiles y religiosos.
Durante el virreinato, se tenía la costumbre de dedicar la capilla mayor de cualquier catedral española al rey gobernante, adjudicándosele la mayor importancia y riqueza artística. La catedral de la capital novohispana no fue la excepción, y por esa razón se encargó y llevó a cabo su construcción, a cargo de uno de los más reconocidos artistas de la época.
Es obra maestra del escultor español Jerónimo de Balbás, autor también del Altar del Perdón de esta misma catedral, y del Altar Mayor de la parroquia del Sagrario en la Catedral de Sevilla, España. Está hecho de madera de cedro blanco tallada, y revestido de lámina u hoja de oro, lo cual le otorga mayor majestuosidad. Su construcción transcurrió de 1718 a 1725, pero fue dorado hasta el año de 1735 y estrenado en 1737.
Como dato curioso con respecto a este retablo, desde el año 1824 hasta 1925, fue allí donde reposaron los restos de algunos próceres de la Independencia de México tales como Don Miguel Hidalgo y Costilla, Ignacio Allende, Juan Aldama, entre otros; hasta el año en que fueron trasladados a la Columna de la Independencia.
La Catedral Metropolitana de la Ciudad de México es el gran templo católico ubicado en la Plaza de la Constitución, en el centro histórico de la Ciudad de México. Las medidas aproximadas de este templo son 59 metros de ancho por 110 de largo y una altura de 60 metros hasta la cúpula. Es también una de las principales obras del arte mexicano, y se considera entre las más sobresalientes de todo el arte hispanoamericano. Construida con cantera gris, cuenta con cinco naves y 16 capillas laterales. Está dedicada a la Asunción de la Virgen María y es la iglesia principal de la Arquidiócesis Primada de México.
Historia de una construcción
En el tiempo de la ciudad de Tenochtitlán el área en donde se encuentra la actual catedral estuvo ocupada por un pequeño templo dedicado a Xipe[1] o quizá por el templo de Quetzalcóatl, un templo dedicado al sol y otras edificaciones menores.[2]
Tres años después de concluida la conquista, Hernán Cortés mandó construir una iglesia en el lugar aprovechando material de los templos aztecas. Esta iglesia fue convertida en catedral por Carlos V y el papa Clemente VII según la bula del 9 de septiembre de 1530 y nombrada metropolitana por Paulo III en 1547.[3] Pronto quedó clara su insuficiencia y por mandato de Felipe II se derribó en 1552. Los trabajos de construcción de la nueva no comenzaron sino hasta 1571 cuando el virrey Martín Enríquez de Almansa y el arzobispo Pedro Moya de Contreras colocaron la primera piedra de su sucesora, la actual catedral...
La suma del costo de la obra hasta la dedicación de 1657 fue de 1.759.000 pesos. Dicho costo fue cubierto en buena parte por los reyes Felipe II, Felipe III, Felipe IV y Carlos II.[3]
Luego, hubo un concurso para designar al arquitecto que terminaría la fachada. El proyecto ganador de dicho concurso fue el neoclásico presentado por el veracruzano José Damián Ortiz de Castro, que se antepuso a los de José Joaquín de Torres (barroco) e Isidro Vicente de Balbás. Ortiz de Castro procedería a terminar las torres, parte de la cúpula y obras al interior. La muerte de Ortiz de Castro dejaría las obras en suspenso un breve tiempo. En 1793 el arquitecto valenciano Manuel Tolsá recibe el encargo de finalizar las obras de construcción de la Catedral, que no concluyen sino hasta 1813.
Sucesos de la Catedral
A lo largo del tiempo la catedral ha perdido parte de su acervo artístico. Se tiene constancia de algunas de las obras perdidas: lámparas de plata de gran tamaño, candelabros, blandones y figuras del mismo metal, la custodia de Borda (88 marcos de peso en oro; con 10 perlas, cubierta al frente por 5872 diamantes y al dorso por 2653 esmeraldas, 544 rubíes y 28 zafiros), un pectoral de oro con reliquias, otro con topacios y brillantes y con anillos de accesorio, alfombras, cojines, colgaduras y muchos tesoros más de características similares.[5]
Fe, Esperanza y Caridad. Esculturas de Tolsá
La fachada se observan tres relieves en mármol blanco. El central representa la Asunción de la Virgen María. El que se tiene del lado izquierdo muestra la entrega de las llaves del Cielo a San Pedro; el que se tiene a mano derecha, la Barca de la Iglesia. Sobre el reloj se encuentran tres figuras representativas de las virtudes teologales: la Fe, la Esperanza y la Caridad. La Fe sostiene una cruz, la Esperanza un ancla y la Caridad sujeta a dos niños. El reloj y las esculturas se deben a Tolsá, así como las balaustradas y florones que coronan todo el conjunto.
El altar del Perdón
El retablo es obra de Jerónimo de Balbás (1735). A principios de 1967 hubo un incendio en la catedral que dañó el altar. Gracias a la restauración practicada se puede admirar el día de hoy una gran obra de arte colonial. Se llama así porque ahí piden perdón los fieles.Esta es una de las obras más grandes del autor tiene un estilo churrigueresco el cual es muy detallado, todo el acabado de esta obra esta cubierto con hoja de oro.
El coro
La sillería del coro está fabricada en una excelente talla de tapincerán. Tiene dos niveles de sitiales: el alto para canónigos y el bajo para seíses y sochantres. En la parte superior, tiene figuras talladas en medio relieve, de obispos y santos.
La sillería del coro es fruto del arte de Juan de Rojas (1695). También fue dañada en el incendio de 1967.
Al centro del coro, entre la la reja y la sillería, está un fascistol de caoba, adornado con figuras de marfil, una de las cuales, es un crucifijo que corona toda la obra. Se usa para sostener los libros de canto, y está conformado por tres cuerpos.
La portada del coro y la crujía (el corredor cerrado que va desde es coro hasta presbiterio) fueron hechas con el diseño del pintor Nicolás Rodríguez Juárez bajo la supervisión del sangley Quiauló. La bella reja del coro es de tumbaga y calain, y fueron estrenadas en 1730. Se fabricó en la ciudad de Macao, China,y sustituyó a una anterior esculpida en maderas.
Cúpula
Se terminó con adaptaciones al proyecto de Ortiz de Castro. En el interior también se representó la Asunción de la Virgen (Rafael Ximeno y Planes, 1810). La cúpula que existe hoy en día, es obra de Manuel Tolsá, y de tambor octogonal, levantada al centro del crucero, sobre cuatro columnas y rematada por una linternilla. Las actuales ventanas son de Matias Goeritz. En el incendio de 1967, ocasionado por un corto circuito en el Altar del Perdón la pintura de la Asunción se consumió.
Nave central de la Catedral Metropolitana, con vista del Altar de los Reyes al fondo.
Altar de los Reyes
El Altar de los Reyes, se encuentra en el ábside del templo, detrás del Altar Mayor. Es obra del insigne Jerónimo de Balbás, autor del Altar del Perdón de esta misma catedral, y del Altar Mayor de la Catedral de Sevilla, entre otras.
Este bello altar, que se puede considerar un monumento dentro de otro monumento, es la obra cumbre del estilo churrigueresco mexicano o barroco estípite, y se considera la obra maestra de su destacado autor. Mide 25 metros de altura, 13 de ancho, y 7 metros de fondo; se eleva al fondo de Catedral ocupando el ábside.
Es una talla formada por tres calles verticales, dos laterales y una al centro, adornada con los cuadros La Asunción de la Vírgen, y La Adoración de los Reyes, del pintor Juan Rodríguez Juárez. Éste último, es el que da nombre al altar, además de una serie de esculturas de bulto de reyes y reinas canonizados (santificados), que posan a lo largo y ancho del altar.
Fue realizado en maderas preciosas policromados, en una exuberante composición de pilastras y columnas, follaje, guirnaldas y querubines. El conjunto está estofado, revestido con hoja o lámina de oro, lo cual le confiere majestuosidad a la obra. Está cerrado por una doble bóveda, y en lo más alto del conjunto, se haya una representación de Dios Padre, presidiendo el magno conjunto.
Las capillas laterales
Capilla de Nuestra Señora de las Angustias de Granada
Capilla de San Isidro
Capilla de la Inmaculada Concepción
Capilla de Nuestra Señora de Guadalupe
Capilla de Nuestra Señora La Antigua
Está consagrada a la advocación mariana del mismo nombre, y en el retablo principal, neoclásico, obra de Juan de Rojas (1718), hay una copia de la imagen de la Virgen de la Antigua cuyo original se encuentra en la Catedral de Sevilla. Esta imagen de influencia bizantina era muy venerada por la población española de la ciudad de México durante el período colonial.
Bajo la imagen de la virgen hay una magnífica escultura sevillana del Niño Jesús, original de la primera mitad del siglo XVII y atribuida a Juan Martínez Montañés. Es conocida popularmente como El niño cautivo, debido a que permaneció en Argel junto a Francisco Sandoval de Zapata, racionero de la catedral, quien fue hecho prisionero por piratas del norte de África en 1622, cuando llevaba la escultura hacia México.
Capilla de San Pedro
La capilla de San Pedro custodia otros dos retablos. El primero y principal está dedicado a honrar la vida del santo apóstol y fue edificado hacia 1670. En él se observan ya los lineamientos del barroco temprano en los que aún se observan elementos manieristas como los relieves de lacería, las ménsulas y los pinjantes. El retablo está formado por tres cuerpos, el último de los cuales se integra al espacio arquitectónico dejando al centro el vano de la ventana. El retablo se merece una mención especial por su decoración general en la que sobresalen los variados motivos vegetales e inanimados propios del barroco. En cuanto a las pinturas de este retablo, no se ha podido saber a ciencia cierta quiénes fueron los autores, se trata de obras cuto tema es la vida de San Pedro, y en un pasaje se recuerda el martirio del apóstol que pidió ser crucificado de cabeza “por no ser digno de morir como su maestro”.
Capilla del Santo Cristo y de las Reliquias
Se contruyó entre 1610 y 1615 dedicada al Santo Cristo de los Conquistadores. También recibe el nombre de Capilla de reliquias por las reliquias insignes guardadas en los retablos barrocos. Según algunos historiadores la imagen de Cristo crucificado conocida como el "Santo Cristo de los Conquistadores" (S. XVI O XVII) fue un regalo de Carlos V, otros sostienen que se trata de una obra realizada en estas tierras, lo cierto es que ya en la primera catedral recibía gran veneración.
Las pinturas y esculturas escenifican momentos de la pasión de Cristo uniendo a este tema la pasión o tormento de los santos y santas màrtires. La escultura del "Santo Entierro" es utilizado todos los años en la procesión del Viernes Santo. El retablo de la derecha tiene al centro una Virgen de Guadalupe, de José de Ibarra, ante la que se juró a Santa María de Guadalupe como la Patrona General y Universal de todos los reinos de la Nueva España el 4 de diciembre de 1746, y que conserva una reliquia del ayate de Juan Diego Cuauhtlatoatzin. Las reliquias de esta capilla se exponen anualmente el día de todos los santos y el día de los fieles difuntos (1 y 2 de noviembre). De acuerdo a la tradición, en esta capilla se custodian reliquias de, entre otros, San Vicente de Zaragoza, San Gelasio, San Vital de Milán y un pedazo de la Vera Cruz.
Capilla de San Felipe de Jesús
Aquí se encuentran los restos de Agustín de Iturbide. Asimismo, aquí se conserva el corazón de Anastasio Bustamante.
Capilla de Nuestra Señora de la Soledad
La capilla dedicada a la Virgen de la Soledad fue abierta al culto en la segunda mitad del siglo XVII. Ella protege a los albañiles y obreros que participaron en la construcción de la catedral. El retablo principal está formado por dos cuerpos y un remate, en él se aprecian las columnas salomónicas de capitel corintio que separan las entrecalles. Es una virgen de la Soledad copia de una imagen española. El retablo puede ser ubicado en la década de 1670-1680 gracias a las pinturas con el tema de la Pasión de Cristo hechas por el pintor Pedro Ramírez.
Capilla de San José
Su retablo principal es barroco, procedente de la antigua Iglesia de Nuestra Señora de Montserrat y tiene en el centro la imagen de San José con el Niño, rodeado de santos, entre los que destaca Santa Brígida de Suecia. El retablo lateral es una composición de pinturas barrocas, que consiste en El triunfo de la Fe, La transfiguración, La circuncisión y La asunción.
Hay un antiguo Ecce homo sedente, llamado popularmente el Señor del cacao. Es una escultura mexicana de caña de maíz procedente de la primera catedral, y muy venerada por los indígenas durante la colonia, quienes a falta de monedas depositaban como ofrenda semillas de cacao, que en época prehispánica se consideraban valiosas piezas de cambio. En la actualidad es común que los niños depositen ofrendas en forma de caramelos.
Capilla de San Cosme y San Damián
Entre los retablos que decoran el interior de la Catedral Metropolitana, el principal está dedicado a honrar a los santos tutelares de la capilla, consta de dos cuerpos, el remate y tres entrecalles. Es uno de los retablos catedralicios del siglo XVII en los que se puede afirmar que tiene un acento manierista y como prueba de ellos están las columnas clasicistas estriadas. El retablo fue concebido para albergar pinturas, las cuales exaltan la vida de los santos médicos Cosme y Damián y se deben al pintor Sebastián López Dávalos. Este pintor también fue uno de los artistas que corroboraron el
Capilla de los Ángeles
Sirve de basamento a lo torre occidental, y fue concluida entre 1653 y 1660. Esta primera capilla fue destruida por un incendio en 1711, por lo que fue inmediatamente sustituida por la actual, finalizada en 1713. Cuenta con unos fastuosos retablos barrocos con esculturas estofadas y policromadas, obras de Manuel de Nava, que representan a los siete arcángeles.
La sacristía
En el interior de la sacristía se puede admirar enormes cuadros de los pintores novohispanos Cristóbal de Villalpando y Juan Correa. Los títulos de los cuadros son: El Triunfo De La Iglesia, La aparición de San Miguel (Villalpando), El Tránsito De La Virgen y La Entrada De Cristo A Jerusalén (Correa). Asimismo, hay una pintura atribuida al pintor español Bartolomé Esteban Murillo.
Las criptas
Cripta de los Arzobispos, con el monumento a Fray Juan de Zumárraga en primer plano. En la parte inferior del altar se aprecia una piedra prehispánica.
Cripta de los Arzobispos, con el monumento a Fray Juan de Zumárraga en primer plano. En la parte inferior del altar se aprecia una piedra prehispánica.
La catedral cuenta con criptas para los fieles que deseen adquirir, aunque actualmente se encuentra todavía en proceso de reparación y por lo tanto para ingresar, es necesario ser poseedor o visitante de un nicho en específico.
Debajo del Altar de los Reyes se encuentra la cripta principal que alberga los restos de los arzobispos que han sido titulares de la Arquidiócesis, desde Fray Juan de Zumárraga hasta el Cardenal Ernesto Corripio y Ahumada, cuyos restos fueron depositados en abril de 2008. En el centro de la cripta de los Arzobispos hay un cenotafio con la figura de Zumárraga y todos los demás arzobispos están colocados en nichos en las paredes. Debajo del monumento de Zumárraga hay una escultura azteca que representa una calavera. Otra escultura prehispánica geométrica fue incorporada en la parte inferior del altar.
Los campanarios
Las torres de la Catedral tienen una altura entre 64 y 67 metros. Cada una está rematada en forma de campana (Ortiz de Castro, 1788). La campana puede ser tomada como un símbolo de la comunicación entre Dios y el hombre. Entre las dos cuentan con espacio suficiente para albergar 56 campanas, aunque al día de hoy son treinta las que han sido colocadas. La mayor de ellas tiene el nombre de Santa María de Guadalupe y pesa alrededor de trece toneladas. La más antigua, Santa María de la Asunción (también conocida como Doña María), es de 1578. La más nueva es del año 2002 y fue colocada con motivo de la canonización de Juan Diego. Fue bendecida por el papa Juan Pablo II. Dentro de la parte superior de cada torre hay escaleras de madera de forma elipsoidal, de las cuales hay muy pocos ejemplos en el mundo. Estas escaleras helicoidales u ovaladas son, como se decia líneas arriba poco utilizadas pues el deterioro ocasionado por el tiempo y es evidente, por lo cual solo son usadas por los campaneros, entre los que destacan Rafael Parra Castañeda Campanero Mayor, o algunos voluntarios como Alejandro Campos Lamas, Decano de la Pastoral de Campaneros o Angel Miguel Donaciano Guía oficial del sitio. Empero, el enorme desgaste de escaleras y zonas del campanario se ha agudizado por la extensiva vista de turistas a un sitio no hecho para ello, por lo cual se recomienda no realizar la visita que se considera de alto riesgo.
El sagrario
De estilo barroco de estípite en su fachada y neoclásico al interior.
Su materia es de cantera gris y tezontle. Tiene dos portadas, una al sur y otra al oriente. Es de planta de cruz latina, y es la parroquia de la Catedral Metropolitana, anexa a ésta.
Sus portadas son de estilo barroco churrigueresco, con pilastras estípite y de forma triangular, obra singular de la arquitectura colonial.
Patrick Sobral est un auteur de BD né le 18 novembre 1972 à Limoges. Il fut décorateur sur porcelaine pendant 12 ans (comme quoi les stéréotypes sur Limoges ont la vie dure).
Suite au succès de sa première BD publiée (Les Légendaires) il a abandonné cette profession pour se consacrer exclusivement au métier de dessinateur/scénariste.
I couldn't resist this piece of low quality crested ware in a charity shop today, priced at £1.99, since my wife is from the city, and I also have family there. I suspect this item to date from the 1920s, since it is a form of crest used in the 19th and early 20th Centuries. In 1914, East Stonehouse and Devonport were incorporated into Plymouth, and in 1928 the town was granted city status. Subsequently in 1931, a new crest was devised which removed some of the original, and made additions to represent East Stonehouse and Devonport. There is no origin stamp or mark, which indicates it might be German, since after WW1 Germany resumed exporting cheap porcelain souvenirs to Britain, but omitted any reference to their country of origin for obvious reasons. The motto translates: "The name of the Lord (Jehovah) is our strongest tower".
have just read about the 1890 Mckinley Tariff Bill (US), and the 1897 British Merchandise Act; both required foreign imports to bear the inscription "Foreign". Thus, without any marks, this souvenir would appear to pre-date 1897.
Wasabi, Eutrema japonicum, is a native Japanese plant of the Brassicaceae family that has been highly prized in Japan since ancient times for the sharp flavor produced when its stems are grated. Shizuoka region is the origin of worldwide wasabi cultivation, and is believed to have begun approximately 400 years ago, during the Keicho era (1596-1615) in the Aoi district of Shizuoka City.
Photo credit must be given: ©Photo courtesy of GIAHS/Shizuoka Wasabi Association for Important Agricultural Heritage Systems Promotion
More information:
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A l'origine, il y avait le chasseur de sous-marin Grumman S-2F Tracker G-89 qui équipât les marines de nombreux pays dans les années 50. Il était équipé de deux moteurs à pistons Wright Cyclone R-1820-82 développant 1525 CV.
Au début des années 80 Conair (Cie Canadienne basée en Colombie Britannique) le transformât en bombardier d'eau. Il devint le Grumman US-2B Tracker - Conair Firecat G-89 équipé des mêmes moteurs.
A la fin des années 80 Conair le remotorisât avec 2 turbines PT6A-67AF de 1200 SHP, en faisant tout de même quelques modifications de structures, les turbines étant plus légères que les moteurs à pistons. Il devint le Grumman TS-2A Tracker - Conair Turbo Firecat.
Le Tracker 15 à été construit en 1959 pour le compte de l'U.S. Navy. Livré à la Sécurité Civile par Conair le 13 juillet 1987 au standard US-2B, il fut renvoyé au Canada pour remotorisation le 12 septembre 1988.
Retour à la base de la Sécurité Civile (Aéroport de Marseille Marignane) le 22 juillet 1989.
Le 11 septembre 2001 il se pose sur le ventre à Cannes, et revole quelques semaines plus tard.
Il est toujours en service.
La photo a été prise le 29 août 2004 sur le pélicandrome de l'aéroport de Bastia-Poretta.
Saveiro é um tipo de embarcação construída exclusivamente em madeira. Nas originais e mais antigas até os pregos eram feitos de madeira. É também um termo genérico que engloba vários tipos de embarcações muito diferentes entre si, todas em madeira, com envergaduras assombrosas, e aerodinâmica naval esmerada, procurando o máximo de aerodinâmica que a madeira pode proporcionar, tanto em Portugalcomo no Brasil, esse trabalho teve início com a Escola de Sagres, onde o graminho ou a régua de cálculos era muito utilizada.
Normalmente a construção de um saveiro é primitiva, medieval; e dispensa o uso de um complicado projeto de engenharia que envolve muitos cálculos matemáticos para chegar nas curvaturas das cavernas (ou galerias), que nunca são repetitivas, obviamente, o que faz dos saveiros objetos unicos de arte artesanais. Embora não existam saveiros iguais, como as digitais, pois são objetos de arte e artesanal e científicos na sua individualidade acadêmica; todos são embarcações marinheiras, cujo objeto é a boa navegação e a aerodinâmica acadêmica naval. A técnica usada no calculo das cavernas também dispensa o uso do sistema métrico decimal, digital ou qualquer emprego de equações algébricas ou integral, aplicadas individualmente em trigonometria esférica, como seno e co-seno já que na maioria das vezes seus construtores não possuem formação técnica em metalurgia avançada e de torneagem mecânica seja manual ou digital, em escola altamente especializada; e sim em madeira e suas diversas procedências, da sua natividade, umidade natural, essa teorizações é que são sua maximização acadêmica especializada e restrita, bem como também a necessária capacidade artística, de poder com arte atingir seu objetivo final, científico da problemática naval(o que os identifica e o que podem ou não ser ou o que é mais sábio afirmar, que raramente o sào analfabetos, de letras, de estudo, funcionais ou o que quer que seja, ou seja na tecnologia científica que os cabe na verdade). As suas ferramentas o são na bases da geometria euclidiana fundamental e muita arte, do conhecimento da nave em si, que vão construir e o objeto que irão enfrentar que é o mar bravio; como se fosse uma mãe cheia de amor e arte, dando à luz a um filho(um estaleiro dando à luz a uma nave). No lugar de cálculos altamente científicos de ponta em tornearia mecânica avançada e de abstrata matemática, de uma engenharia operacional e de rede digital, estes alquimistas de Deus utilizam como seus irmãos de Sagres, de cálculos em réguas de um instrumento denominado "graminho"(ou o que poderíamos dizer, uma régua de cálculos medieval, já ulilizado pelo infante Dom Henrique em suas aulas, na antiga Escola de Sagres, das antigas, com cursor e tudo). O graminho(ou régua de cálculos antiga) consiste em uma tipo de tábua onde estão marcadas todas as relações funcionais geométricas e trigonométricas de comprimentos, curvaturas e proporções de cada peça da embarcação a serem relacionadas entre si, sendo que através do graminho ser possível construir embarcações virtualmente idênticas no desempenho porém diferentes devido ao material sempre diferentes, o que as torna diferenciadas e mais resistentes em si, sem o auxílio de gabaritos(projetos ou cálculos elaborados otimizados esses projetos em túneis aerodinâmicos de estaleiros em salas de risco), porém sem imprescindir das necessárias referências intrínsecas do cavername, pois o que pesa para esses construtores artesanais é a possibilidade naval da madeira, dando-se muito valor ao cipreste, por exemplo pelas propriedades desse na sua capacidade de envergadura naval, o que vai determinar o ponto de referência para a utilização individual na embarcação, quase exclusiva determinado pelo graminho em suas diversas determinações funcionais. Quem conhece o precedimento de cálculo das antigas réguas de cálculo, saberá o que se procura afirmar nessa enciclopédia do graminho, pois as réguas de cálculo antigas eram de base funcional; o engenheiro naval também trabalha com funcões tanto o moderno como o antigo, sendo que sua funcional é o ponto de envergadura da madeira e sua resistência material sob ação naval; o construtor naval antes de tudo é um bom e experiente marinheiro, para construir um saveiro.
Today Loxton might look like the other Riverland towns but its origins are startlingly different. It did not begin life as a river irrigation area of the Chaffeys brothers like Renmark in 1888. It did not begin life as an almost communistic communal village irrigation scheme in 1893 like Waikerie, Kingston and Lyrup. Instead it began life in 1907 as a service centre for the Murray Mallee wheat farmers to the south of the town towards Paruna and Alawoona. Consequently most of the early settlers were of German background. They were not afraid to farm in the tough marginal lands of the upper Murray Mallee where the rainfall was lower and the soils especially sandy. The first irrigation area was not established near Loxton until 1918 and it was a small area. It was not until 1948 when North Loxton irrigation area was declared with federal government assistance that Loxton became a town based on irrigation. At that time soldier settlers (257 of them) were offered fruit blocks on land just to the north of Loxton and at that point the town population began to grow quickly.
But back in the early years of Loxton it grew exceedingly slowly. Its links with the wheat lands were reinforced in 1914 when the train line reached Loxton up from Alawoona and Karoonda. The country around Loxton had originally been a pastoral lease station called Bookpurnong. From 1878 that station had been held by Alexander Borthwick Murray of Murray Park House Magill and Harrogate in the Adelaide Hills. One of the boundary riders for A. B. Murray on Bookpurnong station was William Loxton. Between 1878 and 1881 he lived in a small hut on the banks of the Murray. Loxton’s Hut gave name to the 1907 town and a marker down on the riverbank which we will see marks this spot today and the old Pepper tree that he planted there. A.B. Murray held the lease on Bookpurnong until the government cancelled the lease to develop the land for wheat farming. It did this in 1891 when several hundreds of land were declared in the area near what is now Loxton. As noted above it was 1907 when the government surveyed a town and offered town blocks for sale. The first farming families south of the river were the Thiele, Drabsch, Habel, Kaesler, Quast and Stasinowski families in the mid 1890s. A provisional school was opened in 1902 and an unofficial Post Office. In 1901 Concordia Lutheran Church opened followed by St. Petri’s Lutheran Church in 1904. Both stood on land that would be incorporated into the new township of Loxton after 1907. We can still see this early church behind the current St. Petri Church which was completed in 1926. This impressive building is still the religious centre of Loxton. The early Anglican services in Loxton were conducted in the “floating church” the Etona which plied the Murray and Lakes from Meningie to Overland Corner beyond Morgan. It was 1920 before an Anglican church was built in Loxton. See details about this in Loxton by Marjory R Casson and W Hirst, Hawthorn Press 1972.
A state school opened in Loxton in 1914 but the Lutherans had their own church school. It became an Area School in 1944 and finally a High School in 1958 after the influx of soldier settlers and their families in the early 1950s. The period 1910-20 saw many fine structures erected in Loxton. The general stores and banks all date from this era. In 1911 Eudunda Farmers opened their cooperative store in town. The wonderful Institute was started in 1908. At a later date in had a classical Greek style façade added. The Savings Bank (1926?) was also designed in classical Greek style. The Loxton Hotel opened in 1908, but the present structure appears to date from the 1920s. It has operated as a community hotel since 1948. A flour mill opened in Loxton in 1912; a second flour mill was opened in 1924 and traded well into the 1970s. Wheat grown in the Murray Mallee has high gluten content and is especially good for baking. Wheat not milled into flour was railed down to Port Adelaide for export from 1913 onwards once the railway had reached the town. The river trade in wheat collapsed overnight as rail was so much cheaper. Today Loxton has a population of 4,100 people but at the start of World War Two it had just 1,000 residents.
Origine et date inconnue ; seconde moitié du 20 ième siècle. Technique modelage- coulage.Décor au viticulteur, et inscription Nyoiseau ; depuis 2016 partie de la commune de "Segré en Anjou bleu".La commune nouvelle, région historique de l'Anjou, zone de production de l'ardoise, et de mine de fer.
Qashqai; also spelled Ghashghai, Ghashghay, Gashgai, Gashgay, Kashkai , Qashqay, Qashqa'i and Qashqai: قشقایی) are mixed clans of different ethnic origins, including Persian, Lori, Kurdish, Arab and Turkic.
They mainly live in the Iranian provinces of Fars, Khuzestan and southern Isfahan, especially around the city of Shiraz in Fars.
The Qashqai were originally nomadic pastoralists and some remain so today.
The Qashqai are renowned for their magnificent pile carpets and other woven wool products.
en.wikipedia.org/wiki/Qashqai_people
Piruz Apad, today mostly pronounced as Firuz-Abad (Persian: پیروز آپاد also Romanized as Pīrūzābād; anciently, Sassanid Middle Persian Ardashir-Khwarrah – اردشيرخوره, meaning "The Glory of Ardashir") is a city in and the capital of Firuzabad County, Pars Province (Persian Province), Iran.
Firuzabad is located south of Shiraz.
Alexander of Macedonia destroyed the original city of Gōr.
Centuries later, Ardashir I, founder of the Sassanid Dynasty, revived the city before it was ransacked during the Arab invasion of the seventh century.
Performed by Drum Feng at the Esplanade Outdoor Theatre during Moonfest 2018 for the Mid-Autumn Festival celebrations.
Origin 8 340mm track grips,
Dimension 90mm stem,
Cane Creek S-3 Headset,
MKS AR-2 Pedals with Molletta Design Biciband toe straps,
Eighthinch 48T chainring,
KMC Z410 Silver 1/8" chain,
Much more comfortable Velo seat,
Chopped Thomson seat post,
Generic black seat post clamp
Koolstop severe conditions break pads,
Panaracer T-serv 700x28 tires
Some pictures of the first Choqoa Sampler 2009.
It's completely sold out now,... but I'm already offering new delicious discovery packs on the website!
Come discover the world of fine origin chocolate bars on www.Choqoa.com